Reliable serg Jara, S@rj HaRa Deg1982, Inglewood (USA) mainly focuses on mixed media art and photography. Jara experiments with aleatoric processes to produce works that are often composed of everyday, easily identifiable elements. These elements are combined into an event that the artist controls as a performance. The artist thus creates an unimaginable situation where the viewer confronts his or her conditioning of perception and must reevaluate his or her biased perspective. The aesthetics of the work are often derived from the subconscious and the mind as a relevant subject. This does not refer to anything and can refer to any title. The results are deconstructed to the extent that the meaning is shifted, and the possibilities of entropy and interpretation become multifaceted. His works are often and clearly autonomous, as the artist does not limit the meaning and creates new ones. The artist remains silent for as long as the work is made. There are silent dialogues for the viewer and, independent of external influences, shows an organic, dynamic, and chaotic image, independent of time and place. The artist has made it clear that it is a reaction to mixed media art as an autistic or reactive medium, as well as a reaction to the oppressive themes of our modern society. The artist explores what movement means and finds it reveals an inherent awkwardness that is a joke that mirrors our vulnerabilities. He reveals how movement is a metaphor for the unsettling condition of the man in constant loss, wandering in a space that is neither present nor future. The artist challenges and questions everything we know about the movement by revealing the control and concealment in what seems chaotic. This movement is shown in both long and short time sequences like a dance that presents the figure in constant transformation yet always in a state of apparent stability. The artist rejected all kinds of truths, whether objective or global, and sent a message to his audience: all categories, whether objective or global, are equal, and therefore, one cannot be followed. This was important because he saw the global narratives and the conscious composition, which is due to the composition of the narrative and the action, both at work and in the artist. His thought processes are often revealed as assemblages (private and personal, but always at different times, and sometimes with no filtering). The artist used a variety of methods to achieve these effects because the assemblages were meant to follow the logic of movement in order to create new meanings. His works fluctuate between “objective” and “subjective” stances, and between “artistic” and “cultural” stances. His use of process and mark-making and his conscious avoidance of recognizable elements support the re-alignment of art as a living, civic practice. He believes that all movements should be a semiotic of thought, as the movement itself can—indeed must—have a meaning. This is expected, and the artist has put forward that the movement should have some kind of effect. The work would not have the same impact without the energy that the artist puts in. The viewers, with their eyes open, move from one visual to the other, taking into account the involvement of different visual process within the artist. The viewers are put into a position to feel the energy that it contains. His works do not contain any recognizable elements, and can be deconstructed, which means that the viewer cannot immediately deduce the intent or motive of the work, but must look at what is there themselves. This process has the potential to reveal the thought processes of the artist, or at least to try to imagine what motivates him. The results are then recombined into a different sequence or pattern. These patterns can be interrupted, creating a new rhythm that is always changing. The living with and within movement in the artist’s work shows that movement in a way that seems to only be a notation of the process, and not just in order to be assigned a meaning, but to be thought out. This is because it is a process that has been taken over and controlled by the spectator, the viewer, and the artist. His works are very diverse and complex. They show a perceivable movement within the figures—even the figures that are supposedly passive—that the artist has created within them. Thus, the artist has made the figures move when they have the shapes and sizes of real people, or they just look like they can move. The artist has also made a variety of works that combine different aspects of the city movement, so that the viewer can see what the artist is trying to convey. By combining unrelated elements, the artist gets and creates unexpected analogies. It is these analogies that tell the human story in the movement in a way that seems more vibrant, and unpredictable. The artist creates his analogies by using a variety of techniques and materials. These techniques include collages, which are made up of various materials that the artist has collected. There are also wooden sculptures, which are made by cutting and gluing pieces of wood. The artist also uses different kinds of paints, which help him create different textures and colors. His works are often very personal as they are made with a lot of thought. The artist also occasionally uses animation techniques to create different movements. This experience has led the artist to a place where he can see the movement and the human story behind them. The different movements in the artist’s works show that the artist can capture the smallest movements of humans and objects. This technique, when used, creates a sequence of movements that reveal the fine relations between sound and motion. This shows the artist's skill in this area. The presence of the artist shows that he is constantly experimenting and using new techniques, which is why his works are so interesting and different. serg Jara currently resides in Los Angeles, and he also works in this place.
Serj's studio has received many positive feedbacks. Visitors are impressed by the creative, welcoming and warm atmosphere. A number of respondents likened it to an artistic wonderland and said they continually have fun there, emphasizing how relatable and welcoming they find it to be. They believe that the studio to be one of the most peaceful places, one where people can talk, inspire and encourage one another. People find the invite to be the two welcoming, the art to be subtly distinctive and company to be edifying. A visitor remarked that the atmosphere was "very joyful, and Serg and the family were wonderful."
